Miller's Crossing


Miller's Crossing

Critics Consensus

Though possibly more notable for its distinctive style than an airtight story, this Coen brothers take on the classic gangster flick features sharp dialogue, impressive cinematography, and a typically quirky cast of characters.



Total Count: 57


Audience Score

User Ratings: 50,452
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Movie Info

Joel and Ethan Coen's third collaboration, the gangster film Miller's Crossing, stars Gabriel Byrne as Tom Reagan, the right-hand man of big-city Irish mob boss Leo (Albert Finney). The film opens with Italian mobster Johnny Caspar (Jon Polito) and his second in command Eddie Dane (J.E. Freeman) informing Leo and Tom that they are going to kill bookie Bernie Bernbaum (John Turturro) because he has been revealing Caspar's fixed fights to other gamblers. Leo informs Caspar that Bernie pays for protection and is not to be touched. After the Italians leave in a huff, Tom informs Leo that he should give up Bernie. Tom and Leo are both involved with Verna (Marcia Gay Harden), Bernie's sister. After a failed hit on Leo starts a full-scale mob war, Tom reveals to Leo the truth about his relationship with Verna. This leads to a falling-out between the pair. Tom goes to work for Caspar, but in truth, he is still loyal to Leo. Tom figures out how to manipulate all of the situations so that Leo survives, but this may cost Tom his relationship with Verna.

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Gabriel Byrne
as Tom Reagan
John Turturro
as Bernie Bernbaum
Jon Polito
as Johnny Caspar
J.E. Freeman
as Eddie Dane
George Fernandez
as Caspar's Cousin
Mike Starr
as Frankie
Al Mancini
as Tic-Tac
Richard Woods
as Mayor Dale Levander
Thomas Toner
as O'Doole
Mario Todisco
as Clarence `Drop' Johnson
Louis Charles Mounicou III
as Johnny Caspar Jr.
Danny Aiello III
as Delahanty, a Cop
Helen Jolly
as Screaming Lady
Hilda McLean
as Landlady
John McConnell
as Brian, a Cop
Kevin Dearie
as Street Urchin
Michael Badalucco
as Caspar's Driver
Charles Ferrara
as Caspar's Butler
Charles Gunning
as Hitman at Verna's
Monte Starr
as Gunman in Leo's House
Dave Drinkx
as Hitman No. 2
David Darlow
as Lazarre's Messenger
Don Picard
as Gunmen in Leo's House
Jack David Harris
as Man with Pipe Bomb
Jery Hewitt
as Son of Erin
Sam Raimi
as Snickering Gunman
John Schnauder Jr.
as Cop with Bullhorn
Esteban Fernandez
as Caspar's Cousin
Robert Labrosse
as Lazarre's Tough
Carl Rooney
as Lazarre's Toughs
Bill Raye
as Boxer
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Critic Reviews for Miller's Crossing

All Critics (57) | Top Critics (11)

Audience Reviews for Miller's Crossing

  • May 22, 2017
    A classic high action gangster film. I've really enjoyed the Coen Brothers' films for a very long time. I do think, however, this movie somehow missed the mark of rising to the level of the Godfather, Goodfellas and the other triumphs of the genre. Do not get me wrong, this is still a great film. I cannot, however, shake the feeling that it could have maybe made it to the giants, if only a couple things had been different. The acting is top notch. Albert Finney really shines as Leo, a gruff untouchable gang boss. Jon Tolinto also does an excellent job of playing Leo's rival, Caspar. I think in a lesser actor's hands this part could have been a real miss. Caspar is an over the top manic sociopath that Tolinto captures well. Gabriel Bryne also does an excellent job as the lead. The action sequences are also stylistically brilliant and captivating. One element that the Coen Brothers have always had a real knack for is a tight and well executed visual style. Moments of brutal violence are used with authority, and the action plays out with a deft hand. My real criticism of the film, and I feel this is maybe an odd thing to say, but it tries too hard. The dialogue is too punchy, quick and witty. There are so many good exchanges and memorable lines, but they become almost overwhelming. The characters really lose some punch as the show drags on. They stop being characters and become caricatures. The sets are also beautiful and immaculate, but, again, almost too much so. You almost feel like the characters are self-aware that they are staring in a big movie set. I sense this was maybe by design to make the film a bit of a parody on this iconic genre. I am not sure that part of the film works. The film has so many excellent purist moments. The showdown at the end between Tom and Bernie, the long walk into the woods. I appreciated some of the flair of the movie and the screen play had some excellent moments, but it sometimes was just "too much". Its a hard thing to say such brilliant film makers who, again, made a good film simply tried too hard, but I think that is the core issue holding this film back. I sort of liken this movie to an overly complicated fancy dinner. Even if it was delicious and expertly crafted, at some point the gimmicks and mastery go too far and I just want a cheeseburger. I think Miller's Crossing engaging in that overindulgence, on occasion. Still, an excellent film overall.
    Shane S Super Reviewer
  • Mar 09, 2016
    A gangster film for the ages is actually a homage to the B movies of days gone by, before The Godfather upped the ante and changed the game. Snappy dialogue and seedy bottom dwellers you wouldn't trust with the gum on your shoe highlight this effort wherein everybody smokes and drinks (they ain't got time to eat, like in The Godfather), everybody's looking for an angle to play. Marcia Gay Hardin and Albert Finney are absolutely superb.
    Kevin M. W Super Reviewer
  • Dec 15, 2015
    "You ain't got a license to kill bookies and today I ain't sellin' any. So take your flunky and dangle". It was in 1984 that we were introduced to (what would become) two of cinema's finest writer/director's in Joel & Ethan Coen. Their darkly cynical debut Blood Simple grabbed audiences by the crotch yet their wacky follow up, Raising Arizona, managed to tickle said area. By their third film, Miller's Crossing, there was no denying that this was truly a creative partnership that knew how to construct and deliver films of great substance and enjoyment. In an unnamed town during prohibition times, Tom (Gabriel Byrne) is the right-hand man to crime boss Leo (Albert Finney). Leo is heavily involved with Verna (Marcia Gay Harden) and losing his judgement as a result. When rival boss Johnny Caspar (Jon Polito) comes to Leo for permission to kill Verna's brother Bernie (John Turturro) for double-crossing him, he's refused. What follows, is a war between gangs and Tom finds himself shifting allegiances while playing one side against the other. When it was released in 1990, Miller's Crossing was a box-office failure. It took about half of it's reportedly $10 million budget and I often wonder if this could have been influenced by Martin Scorsese's more realistic gangster film, Goodfellas, being released in the same year. In hindsight, though, it has achieved somewhat of a cult status and celebrated for depicting it's criminals and their unlawful activity in a very different fashion. The Coen's have been known to reference a few hard-boiled crime writers throughout their films: James M. Cain had a heavy presence in The Man Who Wasn't There and Blood Simple while Raymond Chandler coursed through The Big Lebowski. In this case, it's Dashiell Hammett and, most notably, his novels The Glass Key and Red Harvest that Miller's Crossing references and intertwines. Set in 1929, Barry Sonnenfeld's rich cinematography is a thing of sumptuous beauty. He captures the time and feel of the 20's to absolute perfection by utilising a very particular gradation of colour in deep red, green and brown hues. This is arguably the Coen's most visually stunning film to date and that's saying something considering the meticulous attention to detail throughout most of their work. The characters are just as rich. I'm not normally a fan of Gabriel Byrne but at the centre of the labyrinthine plot he delivers a solidly reserved performance as consigliere Tom Reagan, while those around about him have the more colourful, offbeat roles - the kind of which we have now become accustomed to with the Coen's. From Albert Finney's hopelessly romantic kingpin, Leo O'Bannion to (Coen regulars) Jon Polito as his hotheaded nemesis Johnny Caspar, John Turturro's shady bookie, Bernie Bernbaum and his cohort Mink, a small but important Steve Buscemi. All of them deliver memorable work and play like caricatures from the gangster sub-genre. Their dialogue is just as colourful as their characters and the Coen's ability to write snappy, witty lines has never been more present than it is here. From some corners, the film received criticism for being too self-conscious in its approach. There are metaphoric images of Fedora's tumbling through autumnal forests and hilarious discussions on the "ethics" of corrupt business but these moments only add to the film's originality and it's ability to carve it's own niche. Admittedly, there isn't the sense of realism that you'd expect from a gangster film but when the characterisation and pallet are as striking as they are, then it's an approach that's very welcome indeed. Those who have a particular appreciation for the film-noir's of yesteryear will, no doubt, be the kind of audience that Miller's Crossing will appeal to most. However, those that appreciate smart storytelling while basking in gloriously visual filmmaking will be in safe company too. Miller's Crossing was one of the Coen brothers' earlier works and, to this day, remains one of their best. Mark Walker
    Mark W Super Reviewer
  • Mar 29, 2015
    There was probably no need for it to have a two hour runtime. This is as classic 80's/90's Coen brothers as they come: a bloated, strange, genre-blending, bizarrely paced and beautifully shot mess that's well worth your time.
    Gimly M Super Reviewer

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